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Sunday, 16 June 2024


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The game I play is to figure the crop from jump in camera, so I pay just as much attention to the corners of the frame as I do to the center. Do I have all I need to make it the most efficient at the angle most effective? Is there anything extraneous detracting; does it all serve to complement the meat and potatoes in the center as much as possible? When done before shooting, you previsualize more accurately, and second guess less when options are significantly more limited during editing.

By ‘independently,’ I assume you’re not talking dualistically. For routines and familiar environments, it's hugely inefficient to bring automated responses into conscious awareness. You have a deep knowledge of photography, practice and theory

I suspect that what you’re describing is experience in instinct’s clothing, especially when it doesn’t require top-down control. Minds appear to work through Bayesian inference, meaning your response to stimuli is influenced by your priors, which will update when expectations are violated. The stronger the prior, the more likely a certain response will be. A mind encountering a problem for the first time will need to draw on higher cognitive processes. Your conscious awareness might feel like the CEO behind the eyes, but we are not independent of our brains. We are our brains

I used to use two L shaped pieces of matboard. :-) I sort of miss it. I like everything in 4:3 and printed at 12 x 16. So now I just set my X-T5 or X100VI to 4:3 and frame accordingly when I am taking the photo.

To Crop or not to crop, since I'm way old school and only (almost) use 35 or 50 lenses Cropping is often to remove distrations but then I think hmmm.. leave it in. Does it matter who cares.... jim

One of my favorite things is to happen upon a scene that I know is rich in opportunity and just work it. Walk around it with a 35mm lens. Put that away, walk around with a 135mm. Just spend some time and your vision of what is around and available just sort of evolves. New compositions become available.

Why spend time on such decisions today?



"I'm always seeing pictures within scenes."

This is a definition of my dominant way of seeing photos. And not just with a camera, I'm regularly pointing out unnoticed details to others, both in life and on the screen.

I tend to notice/see small parts of the visual field.A a result, probably the majority of my shots are long tele and macro.

I also do a fair amount of cropping in post, but it all starts with the exposure.

Git me out in the world with my Oly 100-400 with 1.4x teleconverter and a macro capable shorter zoom, and I'm a happy camper.

One of the advantages of the 100-400 + TC is that the close focus remains the same as the FL gets longer.

I suspect that 1100 mm eq. would have "got your shot".

Cropping is one of those Mars vs. Venus things. I'm from whichever of those planets doesn't like to crop.

I do all my cropping before I press the shutter button. I'm also fussy about edges. If I have to crop, it's because I made a mistake, or (very rarely) because my longest lens wasn't long enough and there's something tiny and important that is lost.

I've shared this predilection with people from the other planet. They think there's something wrong with me. As far as they are concerned, the image recorded at the press of the shutter is simply a starting point for exploring the potential photographs it might contain. The idea of sticking with the base aspect ratio the camera's engineers created for the camera strikes them as beyond ridiculous.

The people from that planet will like and understand your game. On my planet, not so much. Our motto is, "Choose your perspective, then choose your focal length".

You need to make and sell prints of that photo.

How can I be the only one who thinks it's a great photograph?

Your cropping makes that shot good. Car shows are fun; you see some beautiful things, but are terrible places to make good photographs. Lovely subjects in unfortunate surroundings (but where else will you ever find a classic DeSoto like that?)
At least 99% of all my many car show photographs, over decades, are merely records of the cars on the day. Which is fine- but here you've made a fine photograph from what had been just another record shot.
You did get a little help from the imaginative Virgil Exner, Chrysler Corporation's chief designer in the late '50s, but there's no harm in that.
I prefer to compose in-camera, but so what? I'm here to make good pictures... whatever it takes.

I'm definitely a cropper, despite the time working for the Alumni Publications Office (in college) where everything was printed full-frame.

Lately, I find I'm not paying as much attention to standard aspect ratios, even (printing bigger, and with wider borders, makes that more comfortable for me). (1:1 is the one I use most often! If I find I'm coming close to a square composition, I'll often see if I can make it work exactly square, and if so, I'll often go with that. It's not a high percentage of the total photos, but it's a lot of the crops that are a standard aspect ratio.)

Very few really cool images out there in the world are exactly 3:2 (or 4:3) anyway. And, when shooting people candidly, wasting time fiddling with precise edges usually loses you the shot you were after. Much better to frame a bit loosely around what you think you're shooting, if it moves!

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